Drum rudiment

In percussion music, a rudiment is one of a number of relatively small patterns which form the foundation for more extended and complex drum patterns. The term "rudiment" in this context means not only "basic", but also fundamental. While any level of drumming may, in some sense, be broken down by analysis into a series of component rudiments, the term "drum rudiment" is most closely associated with various forms of field drumming, also known as rudimental drumming.

Rudimental drumming has something of a flexible definition, even within drumming societies devoted to that form of drumming. For example, the longest running website on rudimental drumming defines it as "the study of coordination,"[1] whereas the Percussive Arts Society defines rudimental drumming as a particular method for learning the drums—beginning with rudiments, and gradually building up speed and complexity through practicing those rudiments.[2] (An analogy might be made to learning the piano by first learning scales and arpeggios, as opposed to beginning by taking a full piece of music and grinding through it bit by bit, to the end.)

The origin of snare rudiments can be traced back to Swiss mercenaries armed with long polearms. The use of pikes in close formation required a great deal of coordination. The sound of the tabor was used to set the tempo and communicate commands with distinct drumming patterns. These drumming patterns became the basis of the snare drum rudiments.

The first written rudiment goes back to the year 1612 in Basel, Switzerland.[3] The cradle of rudimental drumming is said to be France, where professional drummers became part of the King's honour guard in the 17th and 18th centuries. The craft was perfected during the reign of Napoleon I. Le Rigodon is one of the cornerstones of modern rudimental drumming.[3]

There have been many attempts to formalize a standard list of snare drum rudiments. The National Association of Rudimental Drummers, an organization established to promote rudimental drumming, put forward a list of 13 essential rudiments, and later a second set of 13 to form the original 26. In 1984, the Percussive Arts Society reorganized the first 26 and added another 14 to form the current 40 International Drum Rudiments.[4] Currently, the International Association of Traditional Drummers is working to once again promote the original 26 rudiments.[citation needed]

Today there are four main Rudimental Drumming cultures: Swiss Basler Trommeln, Scottish Pipe Drumming, American Ancient Drumming, and American Modern Drumming.[citation needed]

A double stroke consists of two single strokes played by the same hand (either RR or LL).

diddle

A diddle is a double stroke played at the current prevailing speed of the piece. For example, if a sixteenth-note passage is being played then any diddles in that passage would consist of sixteenth notes.

paradiddle

A paradiddle consists of two single strokes followed by a double stroke, i.e., RLRR or LRLL.[5] When multiple paradiddles are played in succession, the first note always alternates between right and left. Paradiddles are often used to switch hands. Paradiddles are a quick succession of drumbeats slower than a roll.[6]

drag

A drag is a double stroke played at twice the speed of their context in which they are placed. For example, if a sixteenth-note passage is being played then any drags in that passage would consist of thirty-second notes. Drags can also be played as grace notes. When played as grace notes on timpani, the drag becomes three single (alternating) strokes (rlR or lrL).[7]

flam

A flam consists of two single strokes played by alternating hands (RL or LR). The first stroke is a quieter grace note followed by a louder primary stroke on the opposite hand. The two notes are played almost simultaneously, and are intended to sound like a single, broader note.[5] The temporal distance between the grace note and the primary note can vary depending on the style and context of the piece being played.

roll

Drum rolls are various techniques employed to produce a sustained, continuous sound.

Alternating handed strokes with no specific number of bounces. Should sound even and continuous. Also called "buzz roll" or "press roll" (most often when referred to in the context of drum-set playing).

Two taps (a grace note followed by a full volume tap) played very close together in order to sound like one slightly longer note. In the Hudson Music DVD "Great Hands For a Lifetime", drummer and educator Tommy Igoe describes flams as "the easiest rudiment to play wrong" and goes on to say "...think of the syllable 'lam'. It's one syllable. 'Flam' is still only one syllable, but it's slightly longer." This is a good way for a beginner to conceptualize a "correct" flam.

21.

Flam Accent

Alternating groups of three notes of the form [Flam – tap – tap].

22.

Flam Tap

Alternating diddles with flams on the first note of each diddle.

23.

Flamacue

A group of four notes and an ending downbeat, where the first note and the down beat are flammed, and the second note is accented.

24.

Flam Paradiddle

A paradiddle with a flam on the first note.[5] Also known as a flamadiddle.

25.

Single Flammed Mill

An inverted paradiddle (RRLR, LLRL) with a flam on the first note of each diddle.

A right hand flam followed by a right tap and a left tap, or (using a left hand lead) a left hand flam followed by a left tap and a right tap.[5][8] It is often used in the place of a flam accent, since repeated flam accents will have three taps on the same hand in a row, where repeated Swiss army triplets only involve two taps on the same hand.

29.

Inverted Flam Tap

Alternating diddles (offset by one sixteenth note) with a flam on the second note of each diddle. Also known as a tap flam.

More recently, the Percussive Arts Society added 14 more rudiments to extend the list to the current 40 International Drum Rudiments. Note that the ordering was completely changed during this last re-organization, so these numbers won't match those above.

Frank Arsenault: contributor to the selection of the standard 26 rudiments, and a nationwide American teacher known for his official recording of The 26 Standard American Drum Rudiments and Selected Solos

William F. Ludwig: organizer of and contributor to the selection of the standard 26 rudiments, owner of Ludwig Drum Company

Over the years, many other rudimental patterns have been informally identified and given creative names, although most of these are based upon the original 40. They are commonly known as "hybrid rudiments" or "hybrids," and are especially common in drumlines and drum corps. A few notable examples are the Herta which is a drag played with alternating sticking (famous examples include the chorus fills by Dave Grohl in "No One Knows" by Queens Of The Stone Age, or the intro by Carter Beauford in "Drive In Drive Out" by The Dave Matthews Band), the Cheese, a diddle with a grace note, and the Eggbeater, a five-tuplet with the sticking "rrrll"; indeed, these hybrids have themselves given way to more innovative and arguably more difficult hybrids, "Cheese Invert" (an inverted flam tap with cheeses instead of flams) and the "Diddle-Egg-Five" (a paradiddle-diddle followed by an Eggbeater and two diddles, one on each hand). Hybrid rudiments are becoming increasingly important to a marching percussionist's rudimental vocabulary. Due to the differences in naming and origins of these numerous hybrid rudiments, a growing list of the most common can be found at the Hybrid Rudiment Library.[9] Also one of the largest lists online can be found at http://www.ninjadrummist.com/drum-rudiments/hybrid-rudiments